plate no. 7366
Chosen Site
Paul Klee, 1940
recreation guide
Paul Klee’s *Chosen Site* (1940) represents a pivotal moment in his late career, created during his final year in Switzerland while battling scleroderma. Unlike his earlier mystical-abstract works or the hieroglyphic compositions of the late 1930s, this piece is described as a 'comparatively realistic still life' that stands in stark contrast to his previous output (Source 3). The work depicts flowers, a green pot, a sculpture, and an angel, set against a black ground with a separated moon (Source 3). This shift toward realism, albeit likely filtered through Klee’s unique symbolic lens, marks a departure from the 'cool romanticism of abstraction' he developed after his 1914 Tunis trip (Source 1). The painting was left unsigned on the scaffold, suggesting a sense of finality or resignation associated with his declining health and the political turmoil of the era (Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for the final layer | — |
| Canvas or heavy paper | Support for the oil painting | Linen canvas or heavy watercolor paper sized for oil |
| Black pigment (e.g., Ivory Black or Mars Black) | To create the 'black ground' described in the source | — |
| Green pigment | For the 'green pot' mentioned in the description | — |
| White pigment | For the 'white face' elements or highlights, consistent with Klee's use of white in late works | — |
| Brushes (various sizes) | For applying oil paint with varying opacity | — |
| Medium (linseed oil or similar) | For glazing and scumbling techniques | Stand oil or walnut oil |
preparation
surface prep
Given Klee’s background in watercolor and his transition to oil in his later years, the surface should be prepared to accept both opaque and transparent layers. While specific prep for *Chosen Site* is not detailed, Klee’s general practice involved combining draftsmanship with color (Source 1). A neutral or toned ground may be beneficial to allow for the 'glazing and scumbling' techniques described in traditional oil painting practice, which Klee may have employed to achieve depth and luminosity (Source 4).
underdrawing
Klee was a master draftsman, and his work often combined 'drawing and the realm of color' (Source 1). For a 'comparatively realistic' work like *Chosen Site*, a precise underdrawing is likely necessary to establish the positions of the flowers, pot, sculpture, and angel. Contour drawing techniques, which emphasize mass and volume rather than minor details, would be appropriate to define the forms before applying color (Source 7).
underpainting
Traditional oil painting methods often involve a grisaille (monochrome underpainting) to establish values before adding color (Source 4). Klee’s late works, including *Der Todesengel* (another name for *Chosen Site*), feature a 'black ground' (Source 3). This suggests a dark underpainting or ground might have been used to create contrast for the lighter elements like the angel and flowers. The 'black ground' could be part of the underpainting or the final background.
color palette
Black
Ivory Black or Mars Black
The 'black ground' separating the moon from the main group (Source 3)
Green
Viridian or Chromium Oxide Green
The 'green pot' (Source 3)
White
Titanium White or Lead White
Highlights and potentially the 'white face' if present, though the source mentions a white face in *Insula dulcamara*, not necessarily *Chosen Site*. However, white is essential for the angel and flowers.
Earth Tones
Umber, Ochre
General use in Klee’s palette for sculptures and organic forms
Pale Colors
Diluted oils
Klee’s early experiments involved 'pale watercolors' (Source 1), and his late oil works may retain a sense of luminosity through glazing.
composition
The composition of *Chosen Site* is described as having a 'moon on black ground' that is 'separated from these groups' (flowers, pot, sculpture, angel) (Source 3). This separation suggests a deliberate spatial division, possibly using the black background to isolate the celestial element from the terrestrial still life. The arrangement is 'comparatively realistic' but likely retains Klee’s symbolic approach, where objects are not merely depicted but carry personal or political meaning (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic forms of the flowers, green pot, sculpture, and angel using contour lines to establish mass and volume.
Tip — Focus on the outline and form rather than minor details, as per contour drawing principles (Source 7).
Contour drawing
underpainting
step 02
Apply a black ground to the background, ensuring it covers the area designated for the moon and the space behind the still life.
Tip — Ensure the black ground is dry before proceeding to avoid muddying the colors.
Monochrome underpainting
first pass
step 03
Block in the main colors of the flowers, pot, sculpture, and angel using opaque oil paint.
Tip — Use the 'green pot' as a key color anchor (Source 3).
Direct painting
refining
step 04
Apply glazes and scumbles to refine the colors and create depth. Use transparent coats of color to adjust hues and values.
Tip — Glazing adds transparency, while scumbling adds semi-opaque texture, allowing the underlying layers to show through (Source 4).
Glazing and scumbling
finishing
step 05
Detail the angel and flowers, ensuring the separation from the black ground is clear. Add the moon as a distinct element.
Tip — Maintain the 'comparatively realistic' style while infusing the symbolic weight Klee is known for (Source 3).
Detailing
varnishing
step 06
Apply a final varnish to protect the painting and enhance the colors.
Tip — Wait until the painting is completely dry to avoid trapping solvents.
Varnishing
critical techniques
Glazing and Scumbling
These techniques allow for the creation of luminous colors and complex textures, which Klee may have used to achieve the 'realistic' yet symbolic quality of *Chosen Site* (Source 4).
Contour Drawing
Used to establish the forms of the still life elements with emphasis on mass and volume rather than fine detail (Source 7).
Symbolic Realism
Klee’s late works combine realistic depiction with symbolic meaning, reflecting his personal fate and the political situation (Source 3).
common pitfalls
- →Over-detailing the still life elements, losing the symbolic weight and 'comparatively realistic' balance Klee achieved (Source 3).
- →Failing to properly separate the moon from the main group, which is a key compositional feature (Source 3).
- →Using opaque paint exclusively, missing the opportunity to use glazing and scumbling for depth and luminosity (Source 4).
- →Ignoring the black ground’s role in isolating the moon and enhancing the contrast of the still life (Source 3).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·The exact dimensions of *Chosen Site* are not provided in the sources, though Klee’s late works were often large (Source 3).
- ·The specific pigments Klee used for *Chosen Site* are not detailed, so modern equivalents are suggested.
- ·The precise arrangement of the flowers, sculpture, and angel is not described in detail, requiring interpretation based on the 'comparatively realistic' description (Source 3).
- ·Klee’s specific brushwork for this painting is not documented, so general oil painting techniques are applied.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Glazing and Scumbling — applied to Techniques for applying color over a monochrome ground to achieve depth and luminosity.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Paul Klee — part 13↗
- Last works in Switzerland — applied to Description of *Chosen Site* as a realistic still life with specific elements (flowers, green pot, sculpture, angel, moon on black ground) and its context in Klee’s late career.
Wikipedia: Contour drawing — Contour drawing — part 1↗
- Technique — applied to Underdrawing approach to establish form and mass.
Wikipedia bio — Paul Klee — part 4↗
- Trip to Tunis, 1914 — applied to Klee’s general approach to combining drawing and color, and his use of color blocks.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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